Hello Friends!
This week I’m going to show you how to play the melody and chords to Butter and Eggs simultaneously. The basic approach isn’t very far from the one used on other songs like Wildwood Flower, but there are a few extra factors that make this interesting. The A part, which is very simple to play, utilizes some beautiful sus chords, which gives the music an open, airy feel. The B part supplies a beautiful and relatively simple opportunity to play counterpoint: the bass line ascends from B stepwise up to C#, D then finally E, all while the melody is happening on top. Fun stuff!
Enjoy!
Chris
Topics and/or subjects covered in this lesson:
standards
Print Chords & Tab
Loop 0:00 Run-Through of Butter and Eggs Melody
Loop 0:37 Breakdown of Butter and Eggs Melody
Loop 18:41 Closing Thoughts and Outro
Comments
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I had to skip a few lessons, because butter and eggs is just to beautiful not to try! Challenging with some stretchy chords, I'll keep practizing and maybe advance to the solo. Any advices?
Hi Torgeir, nicely done! You've done a good job of making the bass line and the melody both speak. It already sounds nice and it will continue to get better the more you practice. I would suggest not taking as much time in your pauses. At 0:13 if I'm tapping my foot along, the beat gets extended quite a bit and it throws me off of the pulse. One way to keep the pulse through a long pause like that is to continue the beat in your body. I will often keep my hand in motion (and in time) through a pause/rest almost as if it were a pendulum in a clock. I won't strike the strings but I will keep my hand in motion as if I were playing through the rest.
Sometimes musicians will stretch time deliberately to underline a musical point, but for that to work there needs to be a reason and also you need to guide the listener along as you're stretching the time.
Hi All -- we accidently had the sheet music from last week posted on Fri / Sat. The lesson now has the correct transcription. Thanks for your patience on this (and for letting us know).
Great stuff, as usual, Chris! Is the counterpoint in this piece something that you or Julian would plan in advance, or does this come to you in the moment?
That counterpoint is really just embedded in the chords and melody, both of which were written by Julian and Margaret Glaspy. So usually they would be spread across 2 guitars, but it's fun to play them both at the same time and it happens to sound beautiful as well!
The tab is from last week